Bella Swan lee 'Cumbres borrascosas', de Emily BrontëLa tímida e introvertida Bella Swan, protagonista de la saga Crepúsculo, fue vista leyendo 'Cumbres borrascosas'. La novela de Emily Brontë es un clásico de la literatura romántica, pero también una historia intensa, oscura y marcada por relaciones emocionales extremas. Justo lo que a ella le va a ocurrir en determinado momento con Edward.Bella no es una protagonista convencional: es introspectiva, emocional y profundamente entregada. Su conexión con 'Cumbres Borrascosas' refleja su tendencia a idealizar el amor absoluto, incluso cuando este implica sufrimiento o sacrificio. Al igual que Catherine, Bella está dispuesta a todo por ese vínculo que considera irrompible.'Jane Eyre', de Charlotte BrontëRachel Green lee 'Jane Eyre', de Charlotte BrontëLa novela de Charlotte Brontë es un relato de independencia femenina. Jane es una mujer que lucha por construir su propia identidad, tomar decisiones por sí misma y no depender de las expectativas sociales o de los hombres que la rodean.Esto tiene un claro paralelismo con Rachel. Al inicio de la serie, depende completamente de su entorno -especialmente en lo económico y emocional-, pero poco a poco construye una carrera, toma decisiones propias y redefine quién quiere ser. (Melissa González) (Translation)
There’s Helen in The Tenant of Wildfell Hall by Anne Brontë, who flees her husband to protect their son from his drunken ways; (Harley Freeman)
On Thursday, July 9, the focus shifts to The Bookery, with Amelia Blackwell bringing a lively blend of literary history and mystery with The Haunting of a Brontë. In conversation with Devon crime writer Stephanie Austin, this promises an engaging evening of humour, intrigue and gothic atmosphere, inspired by the enduring fascination of the Brontë sisters.
Jane Eyre by Charlotte BrontëLiterary observers have often connected Swift's song Mad Woman to themes found in Jane Eyre by Charlotte Brontë. The song's exploration of female anger, perception, and social judgment echoes ideas that appear throughout the classic novel. The connection becomes particularly striking through the character of Bertha Mason, the woman hidden away in Mr. Rochester's attic, whose story has long been discussed as a symbol of female suppression and misunderstood rage.
Wuthering Heights is, possibly, a good movie. To some, I believe it can be an enjoyable movie. It was not for me. Still, the costuming is avant-garde and fun, the cinematography is breathtaking, and the performances are captivating—none of these things can be taken away from the film because some bits made the audience squirm. However, Wuthering Heights, as directed by Emerald Fennell, fails to be an effective adaptation.Before much promotion was released about the film, it drew considerable controversy when Jacob Elordi was cast as Heathcliff, a main character. This drew significant criticism, largely from those familiar with the original book, as Heathcliff is a person of color in Brontë’s book. No character ever says, point blank, “Heathcliff, I hate you because you are a person of color.” It’s demanded by the plot and by Brontë for the reader to be aware that the young ward’s dubious birth and lack of capital aren’t helped by him being described as “dark-skinned” or “as dark almost as if it came from the devil.” The prejudice he faces becomes the catalyst for the abuse inflicted on him. It’s why he becomes monstrous in character: he has had otherness forced upon him. (...)Wuthering Heights (2026) explores themes of desire, obsession, self-destruction and love—no one will deny that. But even with CharliXCX on the soundtrack, it’s a hollow figurine of the original novel. Brontë’s work has inspired dozens of adaptations and will surely inspire dozens more, but there is a reason why audience members continue to gravitate to that story. Emerald Fennell’s work will not go down in history as worthless; the costuming and overt sexuality will likely delegate it to the realm of camp. But it will not be considered an accurate reflection of the 1847 novel. (Isabe, Papp)
Con este último protagonizó en 1992 una de las adaptaciones más recordadas de 'Cumbres borrascosas', basada en la novela de Emily Brontë. Mucho antes de que la nueva versión protagonizada por Jacob Elordi y Margot Robbie despertara la curiosidad del público, Binoche y Fiennes dieron vida a Catherine Earnshaw y Heathcliff en una película que destacó por la intensidad en las emociones de sus protagonistas y por una química que traspasaba la pantalla. En una época en la que las adaptaciones literarias de gran presupuesto no eran tan habituales como lo son hoy, aquella producción sorprendió por la pasión de sus protagonistas y por una visión especialmente oscura y romántica de la obra. (Álvaro Alonso De La Fuente) (Translation)
%20(1).v1.jpg)
by Alana SanchezISBN-13 : 979-8251483970March 2026The Brontë sisters have long been remembered as literary legends: three gifted women writing in isolation on the Yorkshire moors, surrounded by tragedy and myth. But behind that familiar image were three fiercely intelligent, determined, and ambitious writers who reshaped English literature forever.In this book, they're brought vividly back to life—not as distant icons, but as real women forged by grief, discipline, imagination, and extraordinary creative force. From the harsh realities of Haworth Parsonage to the publication of Jane Eyre, Wuthering Heights, and The Tenant of Wildfell Hall, this biography traces the triumphs, struggles, and heartbreaks that shaped one of literature’s most remarkable families.Rich in atmosphere and grounded in historical detail, this book explores the Brontës’ childhood losses, their secret literary worlds, their fight to publish under male pseudonyms, and the devastating succession of deaths that cut their lives so short. It is a story of resilience, genius, and the unyielding power of women’s voices.For readers who love classic literature, women’s history, and the enduring mystery of the Yorkshire moors, this is a compelling portrait of the sisters whose novels still haunt, challenge, and inspire generations.
A consultation on plans to build a large wind farm on moorland associated with the Brontë sisters has fallen "well short of standard", Bradford Council has said.Calderdale Energy Park (CEP) wants to install 34 turbines on Walshaw Moor, between Hebden Bridge and Haworth. Although the site lies within Calderdale, councillors said the impact on neighbouring Bradford would be "significant".Developers say the scheme could generate enough low‑carbon electricity to power about 198,000 homes a year.In its response to CEP the council said it had effectively been consulted "on an abstract concept rather than a transparent, scientifically robust infrastructure design".The South Pennine moors and the Pennine Way are closely associated with writers Charlotte, Emily and Anne Brontë, who were raised at the Haworth parsonage, now a museum, in the 1840s.CEP originally proposed up to 65 turbines on the land near Haworth, reducing the number to 41 in April 2025 and then to 34 in February 2026 after saying it had listened to residents' concerns.The plans have faced opposition from campaigners, including Josh Fenton-Glynn, Labour MP for Calder Valley, who fear damage to peatland habitats and the loss of moorland used by bird species.Bradford Council said it had not been adequately involved in the consultation, raising concerns about both environmental information and engagement.It argued that key details remained unclear, including proposals for a cabling corridor that could pass through Bradford if the project goes ahead.Councillors also criticised what they described as flaws in the assessment of the "globally significant" Brontë cultural landscape, warning of potential impacts on tourism, biodiversity and historic villages.The authority added it had not been included in meetings or technical working groups linked to the environmental impact assessment.CEP has previously said the turbines would not deter visitors to the moors.A spokesperson said the company had followed all legal requirements and extended the consultation period to encourage engagement, adding it remained committed to "constructive and ongoing engagement" with the council and other stakeholders. (John Greenwood and Andrew Barton)
“Instead of people coming to the National Gallery, the National Gallery is coming to the people and reminding them of their national collections because this is a public collection,” explains Dr Janine Sykes, Kirklees Council’s curator (Visual Arts). “Our gallery in Kirklees, the Huddersfield Art Gallery, closed in 2020 as part of a huge regeneration project, Our Cultural Heart, and won’t open until 2030, it is a whole generation without a gallery, so I responded to the National Gallery’s call-out. I immediately thought about Oakwell Hall because I know there are so many amazing stories and the history here – it is the oldest property in Kirklees Museums and Galleries.”To Janine’s delight, Oakwell Hall was selected as one of the destinations for the exhibition which has been curated to encapsulate links to the Bröntes (sic), through Caspar David Friedrich’s ‘Winter Landscape’ 1811, the hall and to Birstall, birthplace of the scientist and founder of Oxygen, Joseph Priestley.Interestingly, one of the paintings located here features the work of Joseph Wright’s ‘of Derby’ ‘An Experiment on a Bird in the Air Pump’ 1768 which, Janine explains, links perfectly with Priestley.“As we know Joseph Priestley discovered Oxygen and carbonated water and they knew each other through the Learned Society where they would meet to swap ideas on science, so it allows us to talk about the history of Birstall,” says Janine. “The Winter Landscape by Caspar David Friedrich was from the German Romantic Movement where nature was considered very powerful. All the Brönte [sic] siblings were artistic and their novels were all part of the literary British Romantic genre. I thought wouldn’t it be amazing to somehow link this place-based history to an exhibition with The National Gallery.” [...]“What is very distinct about ‘Art On Your Doorstep’ in Kirklees is I like people to hear different voices in interpretation. It reminds us that it is our collection and for us to enjoy, and it helps to raise awareness of the public collection.”Near the old railway bridge where trains once trundled along the Leeds New Line linking Birstall to Leeds and London before its closure during the Beeching era, is Joseph Mallord William Turner’s ‘Rain, Steam and Speed – The Great Western Railway’ 1844. Janine says it encourages viewers to imagine Birstall in the industrial era.“There was a lot of wealth here. When you look at Oakwell Hall it was connected to wealth. A lot of Charlotte Brontë’s friends were middle class from textiles and industry. The wider industrial connection was the railway. There was a lot of freight, whether textiles or coal, and it reminds us of the industrial past. [...]Special events planned over the summer include fun science sessions for children, a family art club and, on July 25, Janine and Programme Officer, Samuel Harrison from the Brönte (sic) Society & Brontë Parsonage Museum, will host a special tour.“There is something for everyone. Whether you are interested in engineering, there is the industrial past, there are national and global literary connections with the Bröntes (sic), there are some amazing role models. There are different stories and we are making it part of the paintings and about the place,” says Janine. (Sally Clifford)
The first episode of the fourth season of the Behind the Glass podcast is already available: Welcome to series 4 of the Brontë Parsonage Museum's podcast Behind The Glass! For our first episode, Programme Officer Sam and Digital Engagement Officer Mia are joined by writer and scholar Deborah Lutz, to celebrate the publication of her new biography This Dark Night: The Life of Emily Brontë. Listen in as Deborah tells us about her research process and trying to unpick some mysteries behind one of the greatest and fiercest writers...
This Dark Night: The Life of Emily Brontë, Deborah LutzBloomsbury, £20The first comprehensive biography of Emily Brontë in over two decades, by an expert in Victorian literature. From its Proustian opening sentence, to her subject’s death bed at the age of 30, this is a captivating, feeling account of the most enigmatic of the Brontë family. By putting Emily and Wuthering Heights into a historical and political context and drawing closely on her writing, Deborah Lutz illuminates her intriguing personality and wildfire imagination. As Lutz tells us, it took Emily two years to write her masterpiece, and a further 100 for the world to begin to fathom it. That process continues with this biography. (Rosemary Goring)
MRC has established itself as a champion of innovative filmmakers like Edgar Wright, Emerald Fennell and Chloe Domont. But the movies these auteurs deliver defy categorization and that presents its own challenges.“A lot of the movies we make don’t have a lot of obvious comps so they tend to be very difficult for the marketplace to properly evaluate,” admits Brye Adler, MRC’s co-president of film. “Something like ‘Wuthering Heights‘ is an R-rated period romantic drama, but describing it like that doesn’t reflect its potential to be distinctive, which is why it worked. Or you can’t put ‘Cruel Intentions’ and ‘The Talented Mr. Ripley in the same category, but that’s what ‘Saltburn’ is. The system does not compute what we make.” (Brent Lang)
%20(1).v1.jpg)
Presented by Youth Opportunities for the Artsby Jordi MandFri Jun19, 700pnSat June 20, 2pmSun June 21, 2pmSt. John's United Church & Brockville Arts Hub, 32 Park St, Brockville, ON K6V 1B3, CanadaProudly presented by Youth Opportunities for the Arts, Jori Mand’s, Brontë: The World Without is a haunting, emotionally layered stage play that imagines the inner lives and shared creative spirit of the famous Brontë siblings—Charlotte Brontë, Emily Brontë, and Anne Brontë—as they navigate grief, isolation, and the fierce need to create.Set within the confines of the Brontë family home on the Yorkshire moors, the play moves fluidly between reality and imagination. The sisters, along with their brother Branwell Brontë, conjure vivid fantasy worlds as both escape and expression—worlds that begin to blur with their lived experiences. Their stories and characters seep into their daily lives, reflecting their desires, frustrations, and unspoken fears.As illness and loss encroach, the siblings confront the fragility of their ambitions and the limits imposed on them by society and circumstance. The “world without” becomes a poignant metaphor—suggesting both the external world they long to explore and the internal worlds they risk losing.Through poetic dialogue and shifting timelines, the play explores themes of artistic legacy, sibling bonds, and the cost of imagination. It ultimately asks what remains when the creators are gone—and whether the worlds they built can outlive them.
Further information in Brockville Daily.
Friday 19th June 2026, 6:30pmBrontë Birthplace Tearoom, 72-74 Market Street, Thornton, BD13 3HFStep into the candlelit quiet of the Brontë Birthplace for an evening that blends creativity, history, and a touch of old-world intrigue. In this special Verse & Sip workshop, guests are invited into the intimate world of historic correspondence. Beginning with an introduction to letterlocking, a centuries-old practice of folding and securing letters before the use of envelopes, guests will discover how messages were once carefully constructed, protected, and imbued with meaning through folding techniques and wax seals. We’ll explore historic examples, including the method famously used by Mary, Queen of Scots for her final letter, before arriving at Victorian-era practices, such as those used by the Brontës.Guests will then enjoy a hands‑on session of writing, folding, and sealing their own letters, guided in the very rooms where the Brontë siblings first opened their eyes to the world. The atmospheric setting of their birthplace adds a unique depth to the experience, inviting visitors to slow down, savour the moment, and rediscover the pleasure of written correspondence.Verse & Sip is a celebration of slow correspondence, a space where creativity and connection meet. Through events, workshops, and a monthly snail mail club, we invite you to rediscover the beauty of sending and receiving meaningful post. Verse & Sip is open to individuals from all backgrounds. We are committed to fostering a supportive, inclusive, and welcoming environment where everyone feels encouraged to create and share. In a digital age, we believe there is still something powerful about paper and ink. We’re so glad you’re here to be part of it!
They all have their different reasons, but their responses, including some officially submitted to the statutory consultation organised by Calderdale Energy Park, are clear in their opposition to the proposals.Calderdale Energy Park plans to put 34 giant wind turbines on Walshaw Moor, which is located between Hebden Bridge and Haworth, the village associated with the Brontë sisters. [...]Keighley and Ilkley Conservative MP Robbie Moore has long opposed the proposals and has lodged a ten-page document with the consultation outlining his concerns.“To make it clear, I’m not against renewable energy and understand the important role it plays in our energy mix.“But I cannot simply stand by to see the construction of wind turbines being installed and constructed on protected peatland and on world-renowned heritage landscapes such as Walshaw Moor, which is the beating heart of Brontë country.“This scheme will have lasting effects on our community, our landscape and environment.“On paper, it sounds like a triumph for renewable energy, but in reality, it is anything but,” he said.Mr Moore said he did not relish the prospect of 34 200-metre high turbines – “roughly twice the height of Big Ben” – and said his objection latter raised “grave concerns.”“It harms our environment, our ecology, our wildlife and our bird population.“It harms our precious peatland, our peat bogs and its carbon storage potential, it harms our heritage, our landscape, and our communities and neighbours,” he said.Mr Moore has long-pressured fellow West Yorkshire and Lancashire MPs to come out in opposition to the proposals.After considering his response carefully, Calder Valley Labour MP Josh Fenton-Glynn, in whose constituency the project would be sited, has done.Mr Fenton-Glynn has always argued that the issues need careful consideration rather than immediate opposition, but says the science has led him to oppose Calderdale Energy Park in his response.“I continue to have concerns about the impact of the Calderdale Energy Park on peat.“I believe in net zero but I don’t think we get there by damaging carbon stores.“Peatland is our Amazon rainforest and we should follow the science and protect it.“That is why I have stated my opposition in response to the consultation,” he said on his social media pages.Hebden Bridge and Todmorden East councillors from different parties have also responded in the negative.Green Party and Labour politicians have been pressed for their view, and have now given it.Councillor Hannah Mickleburgh-Benn (Green, Hebden Bridge and Todmorden East) is opposing the proposals in her consultation response.“I remain – based on the most recent updated information provided by Calderdale Energy Park – strongly opposed to the Walshaw Moor wind farm proposal,” she said.This is because the provided literature does not provide information on key parts of the construction and decommission in order to form a complete opinion on the environmental and ecological effects, she said.In her response she asks dozens of questions of the company on a range of aspects of the proposal.These include concerns about the impact on peatland, challenging assertions that the wider region and this site in particular is among the best for siting wind power, questioning its operational capacity and predicted carbon savings, assessment of flood risk potential impacts, and questions about the proposed cabling arrangements.Coun Mickleburgh-Benn said in her consultation response: “Besides the implausibility of restoring a peat bog that’s been upearthed and in storage for up to 35 years, leaving turbine bases and roads on the site could have a legacy of negative impact for local ecology.”And Labour’s Coun Sarah Courtney has said: “I am aware that we absolutely need to be supporting sustainable energy production, and that it is important that we are not NIMBYs and embrace opportunities for our area to contribute to renewable electricity production.“However, having read information available, the scientific evidence in terms of water and peat, appears to indicate that this moor may not be the right site for these turbines.”Calderdale Council’s ruling Reform UK group have long been clear in their opposition to the scheme.“We will fight to scrap Net Zero, protect our countryside, and put local people before profiteers.” (John Greenwood)
Based on the book by Janice Hadlow, “The Other Bennet Sister” retells Jane Austen‘s “Pride and Prejudice” from the viewpoint of overlooked Mary. Surprisingly, Ella had never read the Austen novel before she landed the part. “It’s mad, isn’t it?’ she laughs. “But I’m from North Yorkshire and I just thought Jane Austen wasn’t a writer for me. She was more for posh southern people. I used to read loads of Brontë because that was the world I was from.” (Simon Button)
The fair also marks the debut of two new releases: I Hide Myself within My Flowers, a commemorative poetry collection published to mark the 140th anniversary of American poet Emily Dickinson's death, and a deluxe gilt-edged hardcover edition of Emily Bronte's classic novel Wuthering Heights. (Xing Wen)
Thursday, 18 JuneIn-person, 2pm, Free with entry to the Museum and for residents in BD20, BD21 and BD22Brontë Space at the Old School RoomOnline, 7:30pmDuring her lifetime and through the subsequent years, Anne has been seen as the baby of the family, and her legacy has too often been overlooked and in the shadow of her siblings. However, her qualities are now increasingly appreciated by new generations of Brontë fans. This talk will explore those qualities and her courage to shine attention on often controversial subjects through her work, no matter the consequences to herself.
The award marks a significant achievement for the site, which only opened to the public in May 2025.General manager Anna Gibson said: "This recognition means a huge amount to us."As a small, volunteer-led project, to be ranked alongside some of the world’s most visited attractions is both humbling and incredibly exciting."It reflects the passion of our team and, most importantly, the support of every single visitor who has taken the time to experience the Birthplace and share their feedback."The Brontë Birthplace, the first home of the famous literary siblings, has been carefully restored to offer an intimate and authentic visitor experience. (Francis Redwood)
%20(1).v1.jpg)
Banbury Cross Players presents:by Sarah GordonThu 18th — Sat 20th JuneMain Auditorium, The Mill Arts Centre Spiceball Park Road, Banbury , OX16 5QEThis is not a story about well-behaved women. This is a story about sisterhood, love, jealousy and competition. The gritty and controversial plot lines and characters mirror those in Jane Eyre, Agnes Grey, and Wuthering Heights.It is also an irreverent and funny re-telling of the life and legend of the Brontë sisters, and the sibling power dynamics that shaped their uneven rise to fame.It is a familiar story told with a modern voice that brings these three exceptional women to life for an audience of today.
A rare first-edition copy of Emily Brontë’s Wuthering Heights, complete with its original spelling errors, is poised to go under the hammer for the first time in over a century. The auction comes as the tragic, tempestuous romance continues to captivate new audiences, fueled by a recent big-screen adaptation.Christie’s auction house announced Monday that this particular volume is the first copy of the novel in its publisher’s original cloth binding to be offered at auction since 1908.Only about 250 first editions were initially printed, and this specific book has remained in a private library since shortly after its publication in 1847.Mark Wiltshire, a books and manuscripts specialist at Christie’s, underscored the extreme rarity of such an item. "The vast majority of surviving copies were rebound for collectors or libraries, meaning original cloth examples are now extremely scarce," he stated.Being sold along with a copy of sister Anne Brontë’s Agnes Grey, it’s expected to sell for between 400,000 pounds and 600,000 pounds ($540,000 and $800,000) at a June 30 auction in London. Both books carry the male pen names the sisters adopted to get published: Ellis Bell for Emily and Acton Bell for Anne.Wuthering Heights was rushed to publication after the success of Charlotte Brontë’s Jane Eyre, and the first edition is notorious for its typographical errors including, Wiltshire noted, the occasional misspelling of the word “heights.”Emerald Fennell ’s recent movie with Margot Robbie and Jacob Elordi as mismatched pair Cathy and Heathcliff is the latest work to be inspired by — and take liberties with — Brontë’s brooding, Gothic tale.The novel shocked some critics when it was published, with one in 1848 decrying its “vulgar depravity and unnatural horrors.”Since then, Wiltshire said, it has “moved beyond literature to become a cultural touchstone,” inspiring art, music — notably Kate Bush’s pop-operatic 1978 song — and multiple film adaptations.“It remains a work that artists return to again and again because of its emotional force, its atmosphere, and its psychological intensity, ensuring its place not only in literary history but in wider cultural imagination,” Wiltshire said. (Jill Lawless)
%20(1).v1.jpg)
Tuesday, June 16, 2026, 7:00 pmWBUR CitySpace, 890 Commonwealth Avenue. Boston, MA 02215The gothic romance “Wuthering Heights,” Emily Brontë's only novel published in 1847, is having a renaissance due to Emerald Fennell’s new film adaptation starring Jacob Elordi and Margot Robbie. Book sales have skyrocketed and the themes of class, racism and sexuality are being dissected across book clubs and group chats. Here & Now associate producer Kalyani Saxena moderates a conversation with Brontë biographer Deborah Lutz and WBUR film critic Sean Burns exploring the many interpretations the novel has inspired over the century. We’ll show photos and film clips to trace its evolution on screen.Copies of Lutz’s biography, “This Dark Night: Emily Brontë, A Life” will be available to purchase from our bookstore partner Lovestruck Books & Cafe and Lutz will sign following the conversation.
UWA Publishing (UWAP) has acquired world rights to Insolence, the fourth poetry collection by Melbourne-based poet, critic and arts journalist Thuy On.According to the publisher, Insolence “reinvents, reimagines and rearranges iconic figures in our literature, visual art, history, books, and screens”, bringing a contemporary feminist perspective to both real and fictional characters.In the collection, Eve explains why she ate the forbidden fruit, Medusa recounts her own origin story, and Jane Eyre, Emma Bovary and Ophelia update their Tinder profiles. From Ada Lovelace to the Mona Lisa and Hello Kitty, the poems offer “a witty and perceptive celebration of women’s voices across time and space”.On said, “Insolence offers poems from the point of view of female characters both real and fictional who have been historically sidelined or silenced and grants them centre stage.”
Three authors living or dead would you like to have a coffee with?The real answer is that I can be a bit socially awkward, so I’d like to grab a coffee with authors who are already friends, or at least acquaintances. But OK, let me try: Katie Kitamura, Kagiso Lesego Molope (I’m currently enthralled by her new novel, “We Inherit the Fire”), and, just to throw a bit of time travel in the mix, Emily Brontë. (Jean Marc Ah-Sen)
Cinema in Festa:Arena Stalloni, Via Samarotto, 10 - Reggio Emilia - 4212115-06-2026, 21.30hNei selvaggi párami dello Yorkshire, due anime tormentate vivono un'appassionata storia d'amore. Heathcliff e Catherine Earnshaw si trovano intrappolati in un legame tanto profondo quanto pericoloso.Cime Tempestose, il film diretto da Emerald Fennell, racconta una delle storie d’amore più celebri e tormentate della letteratura.Ambientato tra le fredde, selvagge e malinconiche brughiere dello Yorkshire, segue l’intenso legame tra Heathcliff, orfano dal passato misterioso, e Catherine Earnshaw, ribelle erede del maniero di famiglia.Fin da giovani, i due crescono animati da un sentimento viscerale, magnetico e inarrestabile, che sfida convenzioni sociali, differenze di classe e l’ostilità di chi li circonda. La loro passione, però, non è destinata a trovare pace: ciò che nasce come un amore assoluto si trasforma gradualmente in un’ossessione che divora tutto, generando gelosie, vendette e tradimenti capaci di segnare le loro vite in modo indelebile.
In his review of Wuthering Heights, our own Chris Bumbray noted that the film would likely divide critics, and we’re certainly seeing that as other reviews roll in.“One thing is for sure—it’s strikingly different as far as adaptations go, with the classic tale reimagined into a corset-loosening erotic drama that at times feels like it owes more to E.L. James than Brontë,” Bumbray wrote. “It’s a defiantly maximalist take on the costume flick, with director Fennell throwing everything but the kitchen sink into her adaptation, which boldly ditches the entire second half of the novel and takes huge liberties with the rest.“Before the film’s release, Fennell emphasized she never aimed for a definitive version. Her goal was to capture how the novel felt to her as a teen. “That would mean it had a certain amount of wish fulfillment,” she told the Los Angeles Times. “The Gothic, to me, is emotional and it’s about the world reflecting everyone’s interior landscape. This is my personal fan tribute to this work.“For many classic novel fans, any deviation feels like a betrayal. But Wuthering Heights isn’t the only recent literary adaptation to court controversy. (Kevin Fraser)
8. Wuthering HeightsMargot Robbie and Jacob Elordi teamed up for Emerald Fennell's fresh take on Wuthering Heights, and with that starpower and the book's name recognition, the movie became a hit. It made $241.6 million throughout its theatrical run after launching over Valentine's Day weekend, on February 13.Wuthering Heights' box office is largely due to international audiences. It made $157.6 million (or 65.2%) of its total overseas, with the United Kingdom ($34.3 million), Australia ($14.5 million), and Italy ($12.8 million) driving the most interest. But after making $37.5 million and finishing at #1 in its 4-day domestic opening weekend, it was quickly forgotten and finished with just $83.9 million. (Cooper Hood)
Haworth, West Yorkshire: Brontë country at its most atmospheric. Cobbled streets, moorland walks, the famous Parsonage Museum, and a nostalgic heritage railway make this a brilliant budget literary escape. (Milo Boyd and Kieran Isgin)
Tras una última época en que las novias se carcterizaban por vestidos sencillos y contenidos, para 2027 vuelve a resurgir el drama romántico: una estética más emocional, con corsés visibles como protagonistas, mangas dramáticas, faldas con vuelo y tejidos etéreos.Esta tendencia aparece, en parte, gracias a los estímulos que hemos visto últimamente, con los fenómenos Bridgerton y Cumbres Borrascosas, entre otros. Hace falta destacar que lo que se busca es una reinterpretación de vestidos históricos, por opciones más modernas y fashion. (María Toro) (Translation)
Movie-Locations has updated its Wuthering Heights 1970 section. The Japan Brontë Society's blog reports on the 2026 Brontë Day public lecture, held on 6 June at Waseda University with 56 attendees. Two papers were delivered: one examining Charlotte's autobiographical novels (Jane Eyre and Villette), and another on embodied vision in her work, tracing links to the camera obscura and stereoscope. The day also saw the launch of a Society-supervised picture book on the Brontë siblings.
%20(1).v1.jpg)
Christie's30 JUN 4:30PM BST | Live auction 24521Lot 35Property from a Private Charitable TrustEstimateGBP 400,000 – GBP 600,000A truly exceptional first edition of Wuthering Heights in the original cloth binding. Preserved within the same historic house library since shortly after its publication in 1847, it is perhaps the finest example remaining in private hands of a masterpiece of English literature. No textually complete copy has appeared at auction in the publisher’s cloth binding since 1908.Due in part to its distinctive landscape and the wild intensity of its characters, Wuthering Heights ‘has emerged as one of those rare texts, like Frankenstein and Dracula, which has transcended its literary origin to become part of the lexicon of popular culture – the subject of film, song and even comedy. At the same time it has become one of the most written about novels in the language, to the point where the novel’s critical history reads like the history of criticism itself’ (Nestor). Its strangeness troubled early reviewers, especially in light of Charlotte Brontë’s more acceptable Jane Eyre, but its status as one of the great novels in English continues to grow. To Dante Gabriel Rossetti, it was ‘a fiend of a book – an incredible monster’, and to Virginia Woolf it was the result of a ‘gigantic ambition’: to look out ‘upon a world cleft into gigantic disorder and […] unite it in a book’.Although both Wuthering Heights and Agnes Grey were written and accepted for publication before Charlotte had completed Jane Eyre, it was the latter work which was published first. The immediate and enormous success of Jane Eyre prompted Thomas Cautley Newby to bring forward the release of the present works in order to capitalise on the phenomenon. Perhaps as a result of this hastiness, Charlotte judged that ‘the books are not well got up – they abound in errors of the press.’ She subsequently added that ‘the orthography and punctuation of the books are mortifying to a degree: almost all the errors that were corrected in the proof-sheets appear intact in what should have been the fair copies’. The present set contains the following errors and issue points as noted by Smith: vol. I has p.342 numbered ‘242’; vol. II has the low comma after PUBLISHER on the title, the full stop missing after VOL. in B1, p.382 numbered ‘282’, the headline HEGHTS on pp.71, 163, and 265; vol. III has the full stop missing after VOL. in C1, the headline AGNES GREY on pp.49, 96, 183, 204, 309 and 326, and p.313 numbered ‘213’.The exact number of copies printed is unknown, but it was suggested by Charlotte that the run was limited to just 250. Of these, examples preserved in any form of publisher’s binding are exceedingly scarce, with those in full cloth being the rarest of all. Smith records five variant publisher’s bindings for the first edition, including examples in boards backed with cloth which ‘were intended for the circulating libraries. Such copies, though quite rare, are more commonly found than copies bound in cloth’. Variants of full-cloth bindings are distinguished by differences in colour, in the central stamps on their covers, in the number of blind-stamped lines in their borders, in the direction of the diagonal ribbing in the cloth, and in the lettering stamped in gilt upon the spine. The example which was given from the Blavatnik-Honresfield Library to the Brotherton Library in 2022 added a further variant in maroon cloth, and the present copy is slightly different again. It shares many of the common characteristics of other variants, including pale yellow endpapers, a four-line border, diamond-shaped and plain-ruled bands on the spine, and the arrangement of the gilt titles, and is perhaps closest to Smith’s variant D, having the publisher’s details at the foot of each spine. It differs in the shape of the central blind-stamped arabesque, the presence of decorative blind-stamped corners, the colour of the cloth, and in the absence of a full stop after the volume number on the spines.We are aware of only five other examples of the first edition preserved in any variant of the publisher’s full-cloth binding: (1) The Blavatnik-Honresfield copy, Brotherton Library, University of Leeds; (2) Weston Library, University of Oxford; (3) Ashley 2465, British Library; (4) Charlotte Brontë's annotated copy, sold Christie’s New York, 4 December 2009, lot 27 [lacking titles and 6 pages of text]; (5) Anne Brontë's annotated copy, Princeton University Library [see Parish pp.85-87].References: Parrish, Victorian Lady Novelists pp.85-87; Sadleir 350; Smith 3; Wise pp.97-103.3 volumes, 12mo (199 x 122mm). (Short marginal tear in L4 of vol. I, occasional very minor spots or marks, lacking the advert leaves R3-4 in vol. III as usual.) Original diagonally-ribbed green-grey cloth, covers with blind-ruled four-line border surrounding blind-stamped floral corners and central arabesque, spines stamped in blind with a band at the head and two at the foot and three diamond-shaped bands in between, lettered in gilt with titles and volume numbers between the first and second diamond bands, and with LONDON / T. C. NEWBY. at the foot, pale yellow endpapers (spines of Wuthering Heights volumes slightly cocked and faded, that of vol. II with vertical crease from textblock bulge and tiny split at upper joint, upper hinge of vol. II and hinges of vol. II cracked but holding, the lower hinge in vol. II revealing binder’s waste from North Ludlow Beamish’s History of the King’s German Legion (London: Thomas and William Boone, 1837; vol. II, p.393), faintly rubbed and marked). Provenance: Lord Harris of Belmont House (George Francis Robert Harris, 3rd Baron Harris GCSI, 1810-1872, who succeeded his father to the barony in 1845; bookplate, contemporary ink shelf numbering on endpapers recording presence of Wuthering Heights volumes on H3 and Agnes Grey on J4) – thence by descent.
Viewing26 Jun 9:00 AM – 5:00 PM27 Jun 12:00 PM – 5:00 PM28 Jun 12:00 PM – 5:00 PM29 Jun 9:00 AM – 5:00 PM30 Jun 9:00 AM – 2:00 PM
This Dark Night by Deborah LutzEmerald Fennell’s hallucinatory adaptation of Wuthering Heights invited us to consider Emily Brontë in one light; Lutz’s painstaking account shows her in quite another. Far from the eccentric, isolated genius, Lutz’s Brontë is grounded in her material reality, from everyday household tasks to illness and grief.
Charli XCX, Wuthering Heights ★★★★☆Emerald Fennell’s big-budget, bonk-busting adaptation of Emily Brontë’s classic novel certainly ruffled a few feathers – including mine. But the film had one saving grace, in the form of Charli XCX’s trippy soundtrack, whose songs combine the Velvet Underground’s unparalleled knack for melancholy (John Cale features on the now-viral House) with Nine Inch Nails’s industrial riffs and Charli’s own blurry, distorted vein of electronica.Taken as a follow-up to Charli’s culture-dominating 2024 album Brat, Wuthering Heights makes perfect sense – it’s the tragedies of modern life and love told through one of English literature’s most beloved stories; music you can both cry and dance to. As the 33-year-old pop star wryly put it, Cathy and Heathcliff’s romance descended into ruin “without a cigarette or a pair of sunglasses in sight,” those two items of vice being prominent symbols in Brat, which served as a chewed-up love letter to hedonism.Wuthering Heights consists of just 12 songs, clocking in under 35 minutes. But songs like Dying for You, Chains of Love and Always Everywhere pack such a punch that their conciseness never feels like a curse. (Poppie Platt)
Brockville audiences can experience Brontë: The World Without when Youth Opportunities in the Arts stages the production June 19 to 21 at the Arts Hub.Producer Deanna Powers says the play examines the lives and legacy of the Brontë sisters.The three sisters are being played by locals Sarah Paquin, Susannah Burt and Aphra Reimer-Willis with artwork from area artists as well. (Harper Cotie)
Jane Eyre, a musical by John Caird and Paul Gordon based on the seminal novel by Charlotte Brontë, has announced the lead casting for its UK premiere – 30 years on from its first bow.The production will be co-directed by Caird and Megan McGinnis. Caird previously adapted and co-directed the original production of Les Misérables in the West End and on Broadway, and most recently directed the award-winning stage adaptation of Spirited Away at the London Coliseum. McGinnis has appeared on Broadway in Beauty and the Beast, Little Women and Beetlejuice.Set to appear will be Charlie Burn as Jane and Ashley Gilmour as Rochester, with further names to be revealed.The production is set to run at Southwark Playhouse Elephant from 28 August to 24 October 2026, with tickets on sale now. (Alex Wood)
Sunday 21 - 3:20pm Jane Eyre - The Musical
Then, if you’re in the mood for something a little more romantic, but still gothic and chilling and dangerous feeling, you could check out last year’s sensation/scandal/date movie, Wuthering Heights (HBO Max). If you’re blanking, this is the one your friends were telling you about where Margot Robbie and Jacob Elordi run around in the rain and get it on. Emerald Fennell’s movies are not for everyone, though, so you might need some backup material in case you want to switch over real quick. (Dwyer Murphy)
Sure, it takes enough liberties with the original source material that it might make an Emily Brontë nerd's head explode. Still, it's impossible not to be pulled in thanks to director Emerald Fennell's sumptuous vision and Margot Robbie and Jacob Elordi's hot-blooded performances. They play childhood pals whose relationship turns quite complicated as adults when they begin a torrid love affair full of betrayal and resentment. (Brian Truitt)
The classic novel comes to life on the big screen once again, this time from Promising Young Woman and Saltburn director Emerald Fennell, and with Margot Robbie and Jacob Elordi in the lead roles. Fennell, an Academy Award winner for her work on Promising Young Woman, has both big fans and big detractors at this point—but her take her, while book purists haven't been thrilled, is a big, visually stunning epic romance. Robbie and Elordi are both up to the task as well, bringing a charged energy to roles that really need it. Alison Oliver, who recently shined on HBO's Task, is another major highlight in a supporting role. An original soundtrack from Charli XCX helps to set the anachronistic mood and feels like a real cherry on top. (aEvn Romano)
Gold Derby interviews the actress Fiona Durif:
Debra Birnbaum: What's the craziest fan theory you've seen or read?F.D.: Oh, I'm going to have such a boring answer to this! I'm really careful not to read too much fan stuff, because I feel like I have to keep this bubble going that I'm in so that I don't get self-conscious. Oh, wait — Robby and Whitaker's unconscious love affair. They're like Wuthering Heights, you know what I mean? They're yearning for each other, but can't quite make it happen. I enjoy that. It's also a great joke on set. We really get a lot out of it.
A Council has issued stinging criticism of a statutory consultation carried out over controversial proposals to build a giant windfarm on peatland between Haworth and Hebden Bridge.Calderdale Energy Park’s statutory consultation is not up to standard and should be done again, says Calderdale Council.In a highly-critical response to the Calderdale Energy Park (CEP) consultation over its plans to build 34 giant wind turbines on Walshaw Moor, Calderdale has requested the developer starts again.CEP rejects the criticism and says the consultation was carried out in line with planning legislation requirements and its own statement of community consultation.The company has already extended a deadline for some people to resubmit their responses to the consultation into early July due to a glitch.The site is on Calderdale moorland, located between Hebden Bridge and Haworth, the village associated with the Bronte sisters, but the council will not decide whether the proposals can go ahead.
Diario Yaqui (México) also briefly discusses the film. The Brontë Sisters UK posts a video about the Luddites and their relation with the Brontës.
Saturday, June 13 2026, 2:30pmFletton House, Oundle, Peterborough PE8 4JA, United KingdomDr Diana Hallam examines the destructive passion between Catherine Earnshaw and Heathcliff that lies at the core of 'Wuthering Heights'. Bronte's brooding Gothic novel weaves themes of love and obsession, jealousy and revenge, social class conflicts, and the supernatural, set against the evocative backdrop of the wild and rugged Yorkshire moors.Dr Diana Hallam is an Oxford graduate and experienced English teacher and lecturer, with the skill to draw out interesting themes and new viewpoints from well-loved texts.Join us for a wonderful afternoon of literature as we celebrate this classic book, with the addition of hot drinks and a selection of homemade cakes.Doors open at 2pm for refreshments, the lecture begins at 2.30pm.
Emily Brontë did not care about being likable.She was described as introverted, odd, guarded to the point of taciturnity, and her “extreme reserve seemed impenetrable,” said her friend Ellen Nussey. “Except to go to church or take a walk on the hills,” wrote her sister Charlotte, “she rarely crossed the threshold of home.”Her one published novel, the darkly Gothic “Wuthering Heights,” was met with bafflement, but has come to be regarded as a work of genius, and Brontë is also today considered a poet of unusual power. This, combined with her early death and sparsely documented life, has led to a public image as a farouche outsider artist leaping around the Yorkshire moors like a Victorian Kate Bush.As the scholar Deborah Lutz writes in her engaging new biography, “This Dark Night,” it’s not quite that simple. Emily was indeed a knotty character of “devilish ferocity,” but she was also informed, engaged, even cosmopolitan in her reading and outlook.Emily left behind tantalizingly little ephemera. Much of this biography ends up being speculative. But by drawing on a wide range of contemporary sources, the author is able to evoke the comets and heat waves her subject would surely have experienced; the local suicides she would doubtless have read about; the inn where she conceivably might have stayed. No detail goes unaccounted for, from (probable) feminine hygiene practices to (likely) interaction with a mesmerist.Lutz pulls off this sometimes tricky approach with élan, partly because she isn’t wedded to one thesis. (Sadie Stein)
Charlie Burn and Ashley Gilmour are set to lead the cast of “Jane Eyre,” the musical by John Caird and Paul Gordon, when the show makes its U.K. premiere at Southwark Playhouse Elephant in London.The play opens Aug. 28 and plays through Oct. 24.Burn, who recently starred as Cady Heron in “Mean Girls” at the Savoy Theatre and has played Cosette in multiple productions of “Les Misérables,” will take on the role of Jane. Gilmour – currently in the West End run of “The Phantom of the Opera” and previously the lead in the U.K. and international tour and West End production of “Miss Saigon” – will play Rochester.“I’m so honored to be joining the cast of the U.K. premiere of ‘Jane Eyre,’ a sweepingly beautiful musical that brings one of literature’s most beloved female icons to life,” Burn said. “The opportunity to work with theatrical royalty like John Caird, Paul Gordon and Megan McGinnis is incredibly special, and I can’t wait to get started.”“It’s hugely exciting to join the cast of this wonderful musical, marking the first time it has been seen on U.K. stages,” Gilmour added. “Playing alongside the great Charlie Burn is set to be a thrill and I can’t wait to bring this epic story to the intimate setting of Southwark Playhouse, Elephant.”The production will be co-directed by Caird, the Olivier and Tony Award-winning director who adapted and co-directed the original “Les Misérables” for the West End and Broadway and most recently helmed the stage adaptation of “Spirited Away” at the London Coliseum. He will share directorial duties with Megan McGinnis, the Broadway actress known for “Beauty and the Beast,” “Little Women” and “Beetlejuice.”The musical – based on Charlotte Brontë’s novel and tracing Jane’s path from orphaned childhood to independence, set against the gothic atmosphere of Thornfield Hall and her relationship with the conflicted Rochester – originally premiered in Toronto in 1996 before transferring to Broadway in 2000, where it received five Tony Award nominations. The Southwark production is being staged in the show’s 30th anniversary year and is produced by Adam Blanshay Productions in partnership with original Canadian producers David and Hannah Mirvish. (Naman Ramachandran)
Greeted by a Jane Eyre in drag offering us biscuits, we took our seats in the Bread and Roses Theatre, transformed for this night into the community hall, hosting the first ever Jane Eyre Convention. Describing itself as an "ill advised enactment of Charlotte Brontë's Jane Eyre", we were served up a performance where four actors played out the main scenes from the more than excellent novel by Charlotte Brontë.Perhaps the instruction to familiarise ourselves with the emergency exits, like those of a cabin crew just in case the flight hits some shaky patch or worse, was not exactly a metaphor but more a warning of where to run to if the show should crash and burn. For a comedy the night was surprisingly silent and short of laughs. Was it because of the references to dealing with some of the cast member's issues and neurosis, dealt with in a heavy or clumsy way. We were also reminded that this was a story of survival and it was easy to empathise with Jane's plight if you were in the audience that night.It was easy to get the feeling that this play didn't really make the most of the massive amount of material from the novel. It had a fair attempt, and at a running time of just over an hour, you could be forgiven for thinking this was not everything the writer has to offer. The stark difference between attitudes towards many things from the period and the way the modern world would shred, criticise or destroy those opinions now-a-days was not entirely exploited. This major difference in the way people view the world could have been used, whether PC or not, to produce something more dynamic and funny; but it all depends on the amount of reverence you have for the source material. Though I have never thought parody or just crude piss-taking was ever a show of disrespect for the creator but more an expression of the writer's taste or even an intimate peep into their psyche.On the other hand, the set, costumes and props gave it what I hope was a deliberate aura of tacky "am-dram" and in a way this worked well to adhere to it a certain amount of charm. It tried to get immersive by getting the audience involved by offering them broken "bickies" at half time, and the opportunity to join in by wearing a stupid-looking, though I know, historically accurate bonnet. But it was, for some reason, difficult to get fully committed to the whole thing.Like Dickens and many other titans of the Victorian Novel, Charlotte Brontë provides us with a text that is crammed with more than enough unbelievable twists of the story line, strange characters who turn up for the strangest of reasons, bazaar coincidences that revive what was looking like a derailed plot and so much other stuff to play with that it was a little sad that this wealth of material was not used to its utmost potential. Maybe a rethink is needed, or some additions, some more dynamic acting might make this into a better play and something worth seeing but at the moment it isn't much more than a really nice idea with some dedicated hard-working actors doing their best with what was at hand. I hope this isn't too harsh a comment to make and I hope it is just me who was disappointed. (Robert McLanachan)
Not really a convention at all, but Jane Eyre done quickly. And unfortunately, even though the show lasts barely an hour, not quickly enough. Four Charlotte Brontë stans, donned in bonnets and frocks, meet to enact the famous story of Jane and her relationship with gruff Mr Rochester. The premise may sound promising, but it’s undone by some very unfunny jokes and poor character development.Welcoming the delegates with lanyards and Brontë biscuits, Prof Jane, Jeff Jane and Charlotte Jane begin proceedings only to be interrupted by a latecomer, Jane Air, who knows nothing of the book at all and is only there because her name is almost the same as the titular heroine. This new arrival is brought on stage to help with the retelling.Writer Eleanor Zeal plays Prof Jane, the slightly bossy chairman of the society. Ben Everett Riley is Jeff Jane, who still smarts from his father’s many absences when he was growing up. Charlotte Jane, whose parents are from Jamaica, is played by Georgia Jackson, while Rachel Overd is Jane Air, who confides early, much too early, that her boyfriend is abusive.With such a title, the show surely will attract audiences who are well aware of the identity of the woman in the attic and the subsequent postcolonial readings of the Gothic novel. But the cast does nothing new with these ideas, and Charlotte Jane, eager to highlight the racism within the novel, comes across as overly earnest, a bit of a killjoy. With an unnecessary joke about dyslexia and a panic attack scene involving a Gregg’s paper bag, Jane Eyre Convention struggles to find the right tone.The actors try their best, but the script is thin, the slapstick heavy-handed, and the backstories insultingly weak. Of course, they are acting as amateurs, but even amateurs who love the source material as much as these people apparently do would have better ideas. Brontë deserves better. (Richard Maguire)
8. 'Wuthering Heights'Sure, it takes enough liberties with the original source material that it might make an Emily Brontë nerd's head explode. Still, it's impossible not to be pulled in thanks to director Emerald Fennell's sumptuous vision and Margot Robbie and Jacob Elordi's hot-blooded performances. They play childhood pals whose relationship turns quite complicated as adults when they begin a torrid love affair full of betrayal and resentment. (Brian Truitt)
Bless you, Margot Robbie, for fuelling the trend for weird Victorian jewellery.For the London premiere of Wuthering Heights (2026), the actor wore a bracelet made from human hair. It was a museum-quality replica of a bracelet once owned by Charlotte Brontë and probably woven from the hair of her sisters, Emily and Anne. The original is now in the Brontë Parsonage Museum. Emily Brontë, author of the novel that inspired the film, died in 1848.Anne died five months later, but Charlotte, the last surviving sibling, lived for six more years. She would have commissioned and worn the bracelet as a way of remembering the dead. The replica was woven by Wyedean Weaving in England. It’s beautiful and creepy in equal measure, as is the film.
Charlotte Brontë spent an unhappy few months in 1839 on the outskirts of Skipton in North Yorkshire, as governess to the unruly children of John Sidgwick, a wealthy cotton mill owner in the town.Charlotte wrote to her sister Emily that she found the countryside, which is close by the Yorkshire Dales, to be “divine”. But the scenery did not make up for the misbehaviour of the Sidgwick children, whom she found to be “riotous, perverse, unmanageable cubs”. Charlotte did not keep her job long, but she would have seen Skipton as it entered its Victorian heyday, with the chimneys of mills sprouting everywhere, a busy canal linking the town to Liverpool and Leeds, and a big sheep and cattle market in the town centre.Nearly two hundred years after Charlotte was in Skipton, the mills are gone, demolished or converted to other uses, with only one chimney still standing. But the market in the broad high street in the town centre still takes place four days a week, though the cattle and sheep part has moved to a big facility on the edge of town, while the barges on the canal cater for tourists instead of transporting raw cotton, coal and stone from the quarries. As for everyday life, a survey by the property website Rightmove found Skipton to be “the happiest place” to live in the UK, though as Charlotte Brontë knew all too well, happiness is very much a matter of personal circumstance. (Patrick Cockburn)
-¿Crees que la literatura puede contribuir a preservar la memoria de los territorios rurales?-Lleva siglos haciéndolo. Muchas veces conocemos mejor un paisaje por los escritores que por los geógrafos. Pensamos en la Asturias de Clarín, en la Castilla de Delibes, en la Galicia de Emilia Pardo Bazán o en el Yorkshire de las Brontë. La literatura conserva voces, costumbres, formas de hablar y maneras de entender el mundo que de otro modo desaparecerían. No sustituye a la historia ni a la documentación, pero guarda algo igual de importante, y me refiero a la experiencia humana. (Ana Artero) (Translation)
